○ Exercises: Playing Scales in

Table of Contents Different Keys

6. Chapter 5: Introduction to Chords
1. Introduction ○ What Are Chords?
○ Overview of Gospel Music and ○ Triads: Major, Minor, Diminished,
Piano Playing and Augmented
○ The Purpose of This Book ○ Building Major and Minor Chords
○ How to Use This Book ○ Common Gospel Chord
2. Chapter 1: Getting Started Progressions (I-IV-V)
○ Understanding the Piano ○ Inversions and Their Use in Gospel
■ Notes on the Piano 7. Chapter 6: Advanced Chords and
■ Middle C and Its Voicings
Importance ○ Seventh Chords: Major, Minor,
○ Proper Hand and Finger Position Dominant, and Half-Diminished
○ Basic Music Theory for Beginners ○ Ninth, Eleventh, and Thirteenth
■ The Musical Alphabet Chords
■ Intervals and Tones ○ Open Voicing vs. Closed Voicing
○ Simple Rhythms and Time ○ Cluster Chords for Rich Gospel
Signatures Sound
3. Chapter 2: Basic Gospel Rhythms ○ Altered Chords and Their
○ Quarter Notes, Half Notes, and Application
Whole Notes 8. Chapter 7: Gospel Chord Progressions
○ Introduction to Gospel Swing and and Application
Syncopation ○ Classic Gospel Progressions
○ Clapping Exercises to Learn ○ The “Turnaround” in Gospel Music
Rhythm ○ Moving Between Keys Smoothly
○ Playing Simple Chords with the Left ○ Examples of Common
Hand Progressions (I-IV-V, II-V-I)
○ Basic Gospel Piano Patterns ○ Using Chord Substitutions
(Chords and Rhythm) 9. Chapter 8: Modes and Their Use in
4. Chapter 3: Melody and Harmony Gospel Music
○ What Is a Melody? ○ What Are Modes?
○ How to Play Simple Melodies ○ Introduction to the Church Modes
○ What Is Harmony? ○ Ionian, Dorian, Phrygian, Lydian,
○ The Role of Harmony in Gospel Mixolydian, Aeolian, Locrian
Music ○ How to Apply Modes in Gospel
○ Playing Basic Harmonies with ○ Mode Practice Examples
Chords 10. Chapter 9: Rhythmic Feel and Groove
○ Voice Leading and Smooth ○ Understanding Groove in Gospel
Transitions Music
5. Chapter 4: Building Scales ○ The Role of Rhythm in Expressing
○ What Are Scales? Emotion
○ Major and Minor Scales (With ○ Syncopation and Swing in Gospel
Examples) Piano
■ C Major Scale: C - D - E - F ○ Advanced Rhythmic Patterns
-G-A-B-C ○ Playing with a Backing Track or
■ A Minor Scale: A - B - C - D Band
-E-F-G-A 11. Chapter 10: Reharmonization
○ Gospel Scale Concepts Techniques
■ Pentatonic Scales and the ○ What Is Reharmonization?
Blues Scale ○ Basic Reharmonization Techniques

1
 ○ Substituting Chords in Gospel 2. Gospel Progressions
Progressions
○ Adding Passing Chords and Chord 1. I - IV - V Progression in C Major
Extensions ○ I: C - E - G
○ Advanced Reharmonization Ideas ○ IV: F - A - C
○ Examples of Reharmonized Songs ○ V: G - B - D
12. Chapter 11: Advanced Gospel Piano 2. I - vi - IV - V Progression in C Major
Techniques ○ I: C - E - G
○ Comping vs. Soloing in Gospel ○ vi: A - C - E
○ How to Add Expression to Your ○ IV: F - A - C
Playing ○ V: G - B - D
○ Advanced Left-Hand Techniques
(Walking Bass, Rootless Voicings) 3. Reharmonization Example:
○ Advanced Right-Hand Techniques
(Fast Runs, Ornamentations) Original: Amazing Grace
○ The Art of Improvisation
13. Chapter 12: Putting It All Together ● Key: G Major
○ Playing Full Gospel Songs (Sheet
Original Chords:
Music Examples)
G-C-G-D-G
○ How to Arrange a Gospel Song
○ Practice Techniques for
Reharmonized Version:
Improvement
Gmaj7 - Cmaj7 - G13 - D9 - Gmaj7
○ How to Build Your Own Gospel
Style
○ Tips for Playing with a Band
14. Conclusion 4. Advanced Chord Example:
○ Final Words of Encouragement
○ Resources for Further Learning 1. Cmaj7 - Am7 - Dm7 - G7 (ii-V-I
○ Continuing the Journey as a Progression)
Gospel Pianist ○ Cmaj7: C - E - G - B
○ Am7: A - C - E - G
Sample Chord Sheets and Examples ○ Dm7: D - F - A - C
○ G7: G - B - D - F
1. Basic Chord Construction

1. C Major Triad
○ Notes: C - E - G
○ Chord Type: Major
○ Use in Progressions: I (in C major
key)
2. A Minor Triad
○ Notes: A - C - E
○ Chord Type: Minor
○ Use in Progressions: vi (in C major
key)

3. G Dominant Seventh Chord

○ Notes: G - B - D - F
○ Chord Type: Dominant Seventh
○ Use in Progressions: V7 (in C
major key)
2
 Introduction to the mainstream, and Rev. Charles A.
Tindley, a composer of enduring hymns.
Exploring the Essence of Gospel
Gospel music transcends mere sound, echoing
the heart of spirituality and the soul of a
people. Born from a rich history of struggle, The Elements of Gospel Music
faith, and community, gospel has evolved into
a genre that uplifts and inspires listeners 2.1 Vocal Power
worldwide. This book explores the roots,
development, and enduring impact of gospel The hallmark of gospel music is its vocal
music, while offering insights into its various strength. Choirs, soloists, and congregational
forms and its role as a vehicle of hope and singing are characterized by:
worship.
● Call and Response: A leader sings a
line, echoed or answered by the choir.
● Improvisation: Singers often add
The Origins of Gospel Music emotional flourishes, melismas, and
ad-libs.
1.1 Historical Context ● Harmony: Rich, layered harmonies
evoke a sense of community and
Gospel music emerged in the shared worship.
African-American communities of the United
States during the late 19th and early 20th 2.2 Instrumentation
centuries. Influenced by spirituals, work songs,
and hymns, gospel became a powerful Traditional gospel ensembles feature:
medium for expressing faith amidst the trials of
● Piano/Organ: Provides harmonic
slavery and racial segregation.
foundation and rhythmic drive.
Key Influences: ● Drums: Infuses energy and maintains
tempo.
● Spirituals: Songs of faith and ● Bass Guitar: Adds depth and groove.
resilience sung by enslaved people. ● Tambourines/Clapping: Reflect the
● Hymns: European church music communal and rhythmic roots of
adapted with emotional depth and gospel.
improvisation.
● Work Songs: Rhythmic expressions of 2.3 Lyric Themes
labor and endurance.
Gospel lyrics center on faith, salvation, and
hope, often derived directly from scripture.
Songs like "Amazing Grace" and "How Great
1.2 Key Figures in Early Gospel Thou Art" epitomize the genre's focus on divine
praise and personal redemption.
The genre owes much to pioneers like Thomas
A. Dorsey, often called the "Father of Gospel
Music." His fusion of blues and Christian
themes revolutionized gospel in the 1930s.
Other influential artists include Mahalia
Jackson, whose powerful voice brought gospel
3
 Gospel's Evolution Over Time Chapter 1: Getting Started

3.1 Traditional Gospel 1.1 Understanding the Piano

Early gospel was deeply rooted in church ● The Piano Layout:

settings, with songs like "Precious Lord, Take ○ The piano has 88 keys in total,
My Hand" serving as staples of worship. consisting of 52 white keys and
36 black keys. These keys
3.2 Contemporary Gospel represent the notes of the
musical scale.
Artists like Kirk Franklin and Mary Mary have ○ Middle C: This is the reference
introduced modern elements, blending gospel note. It divides the keyboard
with R&B, hip-hop, and pop influences to reach into low and high sections.
broader audiences. Middle C is located roughly in
the middle of the piano.
3.3 Global Influence ● The Musical Alphabet:
○ The musical alphabet consists
Gospel's reach now extends worldwide, of 7 notes: A, B, C, D, E, F, G.
inspiring genres like South Africa’s Soweto After G, it cycles back to A.
Gospel and Caribbean gospel music. Choirs ○ The white keys on the piano
across Europe and Asia have embraced the follow this sequence of notes.
genre, translating its messages of hope into ○ C - D - E - F - G - A - B - C is a
diverse cultural contexts. complete cycle of the scale.

1.2 Basic Music Theory

● Intervals:
The Role of Gospel in Society
○ The interval is the distance
between two notes. For
4.1 A Voice for the Oppressed example, the distance between
C and D is a whole step, while
From the Civil Rights Movement to modern
the distance between C and C#
social justice campaigns, gospel music has
is a half step.
been a rallying cry for change and resilience.
○ Intervals are important for
understanding how scales and
4.2 A Tool for Worship chords are built.
● Time Signatures:
Gospel remains a cornerstone of Christian
○ The most common time
worship, bridging denominations and uniting
signature in gospel music is 4/4,
believers in song.
where each measure (bar)
contains 4 beats.
4.3 A Source of Inspiration ○ A quarter note gets one beat, a
half note gets two beats, and a
Beyond religious settings, gospel uplifts
whole note gets four beats.
individuals with its messages of perseverance
and divine love.

4
 Chapter 2: Basic Gospel Rhythms ○ Example:
■ Left Hand (C chord): C -
2.0 Understanding Rhythm C - (C) - C
■ Right Hand (Melody): E -
Rhythm is the temporal aspect of music, G - E - G (Syncopated)
organizing sounds and silences into patterns
over time. It is a fundamental component that 2.2 Simple Gospel Chords and Rhythms
provides structure, energy, and flow to music.
● Left-Hand Chords:
Without rhythm, music would lack coherence
○ The left hand plays the root of
and direction.
the chord (e.g., C, F, G).
2.1 Elements of Rhythm ○ Example:
■ Left Hand (C chord): C -
1. Beat: The basic pulse of music, often C-C-C
steady and repetitive. ● Right-Hand Chords:
2. Tempo: The speed at which the beats ○ The right hand typically plays
occur, measured in beats per minute the full chord (triad or seventh
(BPM). chord).
3. Duration: How long a note or silence ○ Example (C Major Chord):
lasts, ranging from whole notes to ■ Right Hand (C chord): C
sixteenth notes and beyond. -E-G
4. Accent: The emphasis placed on
certain beats or notes, creating 2.3 Basic Gospel Patterns
dynamic interest.
● The "Walking" Bass Line:
Practical Example: ○ The left hand plays a walking
bass line, often in quarter notes,
Clap your hands to a steady beat. Count moving stepwise between the
"1-2-3-4" repeatedly. This represents a simple root notes of the chords.
rhythm. Adding a clap on "2" and "4" while ○ Example:
stomping on "1" creates a syncopated rhythm. ■ Left Hand (Walking
Bass): C - D - E - F - G
2.1.1 Simple Rhythms (C major scale)

● Quarter Notes: A quarter note gets

one beat. In gospel, the left hand often
plays a steady rhythm of quarter notes,
while the right hand adds melody or
fills. Chapter 3: Melody and Harmony
○ Example:
■ Left Hand (C chord): C - 3.1 Melody
C-C-C
■ Right Hand (Melody): C - What is a Melody?
E-G-E
● Syncopation: Syncopation is a A melody is a series of musical notes that are
rhythmic concept where emphasis is perceived as a single, cohesive line. It is often
placed on off-beats or weak beats, the most memorable part of a piece of music,
which is a key feature of gospel music. evoking emotion and guiding the listener
5
through the composition. Melodies can be Chapter 4: Building Scales
simple or complex, but they always serve as
the core narrative of a musical work. 4.1 The Major Scale

○ The melody is the main tune or ● C Major Scale: The C major scale has
theme of a piece of music. In no sharps or flats, making it a good
gospel music, melodies are scale to start with. The notes are:
often soulful, with lots of C-D-E-F-G-A-B-C
emotional expression. ○ Exercise: Practice playing the
○ Example (Simple melody in C C major scale ascending and
Major): descending with both hands.
C-E-G-E-C-D-E-G
4.2 The Minor Scale
3.1.1 Characteristics of a Melody:
● A Minor Scale: The A minor scale is
● Pitch: The highness or lowness of the the relative minor of C major. It has a
notes. slightly different feel and is often used
● Rhythm: The duration and timing of the in gospel music for more somber or
notes. emotional moments.
● Contour: The shape of the melody as it A-B-C-D-E-F-G-A
ascends, descends, or remains static. ○ Exercise: Practice the A minor
● Range: The span between the lowest scale ascending and
and highest notes. descending.
● Phrasing: How the melody is divided
into musical sentences or ideas. 4.3 The Blues Scale

● C Blues Scale:
C - Eb - F - F# - G - Bb - C
3.2 Harmony ○ This scale is essential for
playing gospel music with a
● What is Harmony? bluesy feel.
○ Harmony is the combination of ○ Exercise: Play the C blues
different notes played together. scale in eighth notes and
In gospel, harmony usually experiment with creating
accompanies the melody and is melodies.
played using chords.
○ Example (C chord): Chapter 5: Introduction to Chords
■ Left Hand (C chord): C -
E-G Chords are formed by combining intervals to
■ Right Hand (Melody): G - create harmonic structures. They are the
E-C-G foundation of harmony and can be categorized
as follows:

5.1 Types of Chords

1. Triads: The simplest chords, consisting

of three notes:
○ Major Triad: Root, major third,
perfect fifth.
6
 Ex: C Major: C - E - G ○ The dominant seventh chord
creates tension, making it feel
○ Minor Triad: Root, minor third, like it needs to resolve.
perfect fifth.
6.2 Ninth Chords
Ex: A Minor: A - C - E

○ Diminished Triad: Root, minor ● C9: C - E - G - Bb - D

third, diminished fifth. ○ The C9 chord adds richness
○ Augmented Triad: Root, major and tension.
third, augmented fifth.
6.3 Open Voicings
2. Seventh Chords: Adding a fourth note
(seventh) to a triad: ● Open Voicing Example:
○ Major Seventh: Major triad + ○ Cmaj7: C (left hand) - B (right
major seventh. hand) - E (right hand) - G (right
○ Dominant Seventh: Major triad hand)
+ minor seventh. ○ Open voicings create a more
○ Minor Seventh: Minor triad + spacious and fuller sound.
minor seventh.
○ Half-Diminished Seventh:
Diminished triad + minor
seventh. Chapter 7: Gospel Chord
○ Fully Diminished Seventh:
Progressions and Application
Diminished triad + diminished
seventh. 7.1 I - IV - V Progression
5.2 Common Gospel Chord Progressions ● In the key of C Major, the progression
would look like:
● I - IV - V Progression (C - F - G in C
○ I: C - E - G
Major)
○ IV: F - A - C
○ C-F-G-C
○ V: G - B - D
○ This is the most basic chord
● This is the foundation of many gospel
progression used in gospel
songs, and variations of this
music.
progression create the backbone of the
genre.
Chapter 6: Advanced Chords and
Voicings 7.2 The "Turnaround"

6.1 Seventh Chords ● A turnaround is a set of chords that

brings the song back to the beginning.
● Cmaj7: C - E - G - B ○ Example: In C Major, a typical
○ The major seventh chord adds a turnaround could be:
smooth, jazzy color to your ■ G7 - Cmaj7 - Am7 - Dm7
playing. - G7
● Am7: A - C - E - G
○ The minor seventh chord is
common in gospel and R&B.
● G7: G - B - D - F

7
 Chapter 8: Reharmonization Dominant Extended Chords

8.1 Adding Extensions and Substitutions 1. Dominant Seventh Chords:

○ C7: C - E - G - Bb
● Cmaj7 (I chord) can be substituted with 2. Dominant Ninth Chords:
C9 to add color. ○ C9: C - E - G - Bb - D
○ Example: 3. Dominant Eleventh Chords:
■ Original Progression: C - ○ C11: C - E - G - Bb - D - F
F-G-C ○ (The third is often omitted to
■ Reharmonized avoid dissonance with the 11th.)
Progression: Cmaj7 - 4. Dominant Thirteenth Chords:
Fmaj7 - G9 - Cmaj7 ○ C13: C - E - G - Bb - D - A
○ (The 11th is often omitted; the
8.2 Passing Chords 9th may also be omitted in
simpler voicings.)
● A passing chord is a temporary chord
that connects two more stable chords.
○ Example: Between C and F,
Minor Extended Chords
you could use D9 as a passing
1. Minor Seventh Chords:
chord:
○ Cm7: C - Eb - G - Bb
C - D9 - F
2. Minor Ninth Chords:
○ Cm9: C - Eb - G - Bb - D
3. Minor Eleventh Chords:
Extended chords are those that add notes ○ Cm11: C - Eb - G - Bb - D - F
beyond the basic triad (root, third, and fifth) ○ (The fifth may be omitted to
and the seventh. Here’s a comprehensive list avoid dissonance.)
of extended chords, categorized by type, along 4. Minor Thirteenth Chords:
with their construction: ○ Cm13: C - Eb - G - Bb - D - A
○ (The 11th is often omitted for
smoother voicing.)

Major Extended Chords

1. Major Seventh Chords: Half-Diminished (Minor 7 Flat 5)

○ Cmaj7: C - E - G - B Extended Chords
2. Major Ninth Chords:
○ Cmaj9: C - E - G - B - D 1. Half-Diminished Seventh Chords:
3. Major Eleventh Chords: ○ Cm7♭5: C - Eb - Gb - Bb
○ Cmaj11: C - E - G - B - D - F 2. Half-Diminished Ninth Chords:
○ (Sometimes the third or fifth is ○ Cm9♭5: C - Eb - Gb - Bb - D
omitted to avoid dissonance.) 3. Half-Diminished Eleventh Chords:
4. Major Thirteenth Chords: ○ Cm11♭5: C - Eb - Gb - Bb - D -
○ Cmaj13: C - E - G - B - D - A F
○ (The 11th is often omitted to 4. Half-Diminished Thirteenth Chords:
reduce dissonance.) ○ Cm13♭5: C - Eb - Gb - Bb - D -
A

8
 Diminished Extended Chords 1. Sus2 Chords:
○ Csus2: C - D - G
1. Diminished Seventh Chords: 2. Sus4 Chords:
○ Cdim7: C - Eb - Gb - A ○ Csus4: C - F - G
2. Diminished Ninth Chords: 3. Extended Sus Chords:
○ Cdim9: C - Eb - Gb - A - D ○ C9sus4: C - F - G - Bb - D
3. Diminished Eleventh Chords: ○ C13sus4: C - F - G - Bb - D - A
○ Cdim11: C - Eb - Gb - A - D - F

Augmented Extended Chords

Simplified Voicing Tips
1. Augmented Seventh Chords:
○ C7#5: C - E - G# - Bb Extended chords can be simplified for practical
2. Augmented Ninth Chords: playing by omitting certain notes:
○ C9#5: C - E - G# - Bb - D
3. Augmented Eleventh Chords: ● Omit the root if a bass player covers it.
○ C11#5: C - E - G# - Bb - D - F ● Omit the 5th if it adds no distinctive
character to the chord.
● Omit the 11th if it clashes with the 3rd.

Altered Dominant Extended Chords

Altered chords are dominant chords with Example Chord Voicings for Gospel
modifications to the fifth and/or ninth. These Piano
are common in jazz and gospel for adding
tension and leading to resolution. Here are practical voicings for extended chords
and examples of how to apply them in gospel
1. Dominant Seventh Flat Nine: progressions. Each chord is voiced to provide
○ C7♭9: C - E - G - Bb - Db smooth transitions and a rich gospel sound.
2. Dominant Seventh Sharp Nine:
○ C7#9: C - E - G - Bb - D#
3. Dominant Seventh Flat Thirteen:
○ C7♭13: C - E - G - Bb - Ab 1. Major Extended Chords
4. Dominant Seventh Sharp Eleven:
○ C7#11: C - E - G - Bb - F# Cmaj9 (C Major Ninth)
5. Fully Altered Dominant Chord:
● Voicing:
○ C7alt: C - E - G# - Bb - Db - D#
Left Hand: C - G
Right Hand: E - G - B - D

Progression Example:
Suspended Extended Chords
Cmaj9 → Dm7 → G13 → Cmaj9
Suspended chords replace the third with the
● Left Hand: Root and 5th of each chord.
second (sus2) or fourth (sus4). Extensions can
● Right Hand:
be added to create complex suspended
○ Cmaj9: E - G - B - D
chords.
○ Dm7: F - A - C - E

9
 ○ G13: F - A - E (omit 11th and Progression Example:
5th) Cmaj9 → Db9 → Cmaj9

This progression can be used as a soulful ● This substitution adds tension and a
vamp at the end of a song like "Great Is Thy jazzy feel before resolving back to the
Faithfulness." tonic. A perfect fit for traditional hymns
or modern gospel transitions.

2. Dominant Extended Chords

5. Modal Interchange
G13 (G Dominant Thirteenth)
Borrowed Chords (From Parallel Minor):
● Voicing:
Borrow an Abmaj7 in the key of C Major.
Left Hand: G - F
Right Hand: B - E - A Voicing:
Left Hand: Ab - Eb
Progression Example:
Right Hand: G - C - F
Cmaj7 → A7 → D9 → G13 → Cmaj7
Progression Example:
● Gospel Application: This is a typical
Cmaj7 → Abmaj7 → G13 → Cmaj9
II-V-I progression, used for songs like
"Amazing Grace." ● Application: Use this in the introduction
or turnaround for "Total Praise."
3. Minor Extended Chords

Cm11 (C Minor Eleventh)

6. Altered Dominant Chords
● Voicing:
Left Hand: C - G G7♭9 (G Dominant Seventh Flat Nine)
Right Hand: Bb - D - F
● Voicing:
Progression Example: Left Hand: G - F
Cm11 → F7 → Bbmaj9 Right Hand: Ab - B - D
● Gospel Application: Use this in the Progression Example:
bridge or verse of a slow gospel song Cmaj7 → A7 → G7♭9 → Cmaj7
for a rich, moody feel.
● Use this for a dramatic resolution in
songs like "Lord, I Lift Your Name on
High."
4. Tritone Substitution Example

Db9 (Substitute for G7)

● Voicing:
Left Hand: Db - Ab
Right Hand: F - Bb - Eb

10
7. Suspended Extended Chords Cmaj9 → A7 → Dm11 → G7#5 → Cmaj13

C13sus4 (C Dominant Thirteenth ● Voicings:

Suspended) ○ Cmaj9: (LH: C - G, RH: E - G -
B - D)
● Voicing: ○ A7: (LH: A - G, RH: C# - F - G)
Left Hand: C - G ○ Dm11: (LH: D - A, RH: F - G - C
Right Hand: F - Bb - D - A - E)
○ G7#5: (LH: G - F, RH: B - E -
Progression Example: G#)
C13sus4 → Fmaj9 → G13 → Cmaj9 ○ Cmaj13: (LH: C - G, RH: E - A -
D)
● Application: Commonly used in choir
intros and outros for songs like
"Blessed Assurance."
Tips for Applying These Chords

1. Voice Leading: Focus on smooth

How to Apply These Chords in transitions between chords. Keep
Gospel Progressions common tones where possible, and
move notes by the smallest interval.
Progression 1: Traditional II-V-I with 2. Dynamics: Play extended chords softly
Extensions during verses and louder during
climactic sections for emotional impact.
Dm11 → G13 → Cmaj9 3. Rhythm: Use syncopation and
rhythmic variation to give a lively feel to
● Voicings:
your voicings.
○ Dm11: (LH: D - A, RH: F - G - C
4. Repetition with Variation: Repeat
- E)
progressions with slight changes in
○ G13: (LH: G - F, RH: B - E - A)
voicing or rhythm for interest.
○ Cmaj9: (LH: C - G, RH: E - G -
5. Bass Lines: Let the bass guide the
B - D)
harmony. When possible, emphasize
Progression 2: Advanced Turnaround walking bass lines that connect the
chords seamlessly.
Cmaj9 → Abmaj7 → G13 → Db9 → Cmaj9

● Voicings:
○ Cmaj9: (LH: C - G, RH: E - G - Reharmonization Techniques
B - D)
○ Abmaj7: (LH: Ab - Eb, RH: G - Reharmonization refers to changing the
C - F) original harmony or chords of a song to make it
○ G13: (LH: G - F, RH: B - E - A) sound different, often more sophisticated or
○ Db9: (LH: Db - Ab, RH: F - Bb - modern, without altering the melody. Here are
Eb) several reharmonization techniques commonly
used in gospel music:

Progression 3: Gospel Ending Vamp

11
1. Using Substitutions 2. Modal Interchange (Borrowed Chords)

Tritone Substitution: Modal Interchange is borrowing chords from a

parallel mode (e.g., using chords from C minor
● This is a favorite in gospel music, as when the song is in C major). This adds color
we’ve already explored. It involves and complexity to the progression.
replacing a dominant seventh chord
with another dominant seventh chord a Example:
tritone away.
Example: ● In C major, borrow a chord from C
○ G7 → Db7 (a tritone minor:
substitution) → Cmaj7 ○ Cmaj7 → Abmaj7 → G7
● The Abmaj7 is borrowed from C minor,
creating a soulful, unexpected sound.

Chromatic Substitution: 3. Chord Extensions and Alterations

● Chromatic substitution involves Extensions like the 9th, 11th, and 13th add
moving a chord up or down by a richness to chords. You can add these
half-step to create a smooth, chromatic extensions to chords to create a more complex
transition. This is common in jazz and sound.
gospel to add movement and color.
Example: Example:
○ Cmaj7 → Bmaj7 → Bbmaj7 →
Amaj7 ● Cmaj7 → Cmaj9 → Cmaj13

Relative Major/Minor Substitution: Alterations to dominant seventh chords, like

flat 9, sharp 9, and sharp 13, make the
● The relative minor of any major chord dominant chord more tense and powerful,
or vice versa can be used to which is often resolved in gospel.
reharmonize the progression.
Example: Example:
○ Cmaj7 → Am7 → D9 → G7
● G7 → G7b9 → Cmaj7
(here, Am7 is the relative minor
of Cmaj7)

4. Descending or Ascending Chord

Movements
Parallel Substitution:
You can create movement by using
● In parallel substitution, you shift the
descending or ascending chord patterns. For
whole chord up or down in parallel
example, a descending chromatic line can
motion by a half-step or full step.
add tension and resolution.
Example:
○ Fmaj7 → F#maj7 → Gmaj7 → Example:
Amaj7
● Cmaj7 → B7 → Bbmaj7 → A7

5. Using Secondary Dominants

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A secondary dominant is a dominant seventh skips the 4th and 7th notes of the major scale,
chord that resolves to a chord other than the giving it a smooth, open sound.
tonic. It temporarily makes a non-tonic chord
feel like the tonic, adding surprise and spice to ● C major pentatonic scale: C - D - E -
the progression. G-A

Example: This scale works great for improvising over I -

IV - V progressions in major keys.
● Cmaj7 → D7 (secondary dominant) →
G7 → Cmaj7 Example: Over a Cmaj7 → Fmaj7 → G7
progression, you can improvise using the C
In this example, D7 is a secondary dominant major pentatonic scale.
(V of G), which resolves to G7 before returning
to Cmaj7.

3. Call and Response

In gospel music, call and response is a

Improvisation Techniques
common improvisation technique. The "call" is
Improvisation in gospel music is all about a short musical phrase, and the "response" is a
creativity, feel, and expression. Here are some variation or answer to that phrase.
techniques that can help you to improvise
Example:
effectively:
● Call: Play a simple melody like C - E -
1. Using the Blues Scale
G.
The blues scale is a powerful tool in gospel, ● Response: Play a response with
as it adds emotion and soul to your variations like C - D - E - F.
improvisation. It’s a six-note scale with a "blue"
This back-and-forth approach adds dialogue
note (flattened 5th), which creates a bluesy,
and expressiveness to the performance.
soulful feel.

● C blues scale: C - Eb - F - F# - G - Bb
4. Playing with Rhythm and Syncopation
When improvising, try using the blues scale
over dominant seventh chords or In gospel, rhythmic variation is key to a vibrant
pentatonic-based patterns. improvisation. Use syncopation to emphasize
off-beats, which gives the music more energy
Example: Over a G7 chord, use the C blues
and drive.
scale to create soulful, gospel-inspired riffs.
● Example: Play a Cmaj7 chord on beat
1, and then play a quick, syncopated
2. Pentatonic Scales for Improvisation G7 chord on the off-beat (2-and) to add
excitement.
The pentatonic scale (especially the major
pentatonic scale) is a key tool in gospel 5. Using Arpeggios and Broken Chords
improvisation. The major pentatonic scale
You can use arpeggios (broken chords) to add
movement and texture to your improvisation.
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Instead of playing chords in a block form, substitutions and extensions. Gradually
break the chord into individual notes, and play add complexity as you become
them in a flowing, arpeggiated pattern. comfortable.
2. Experiment with Chord Extensions:
● Example: For a Cmaj7 chord, Play around with 9ths, 11ths, and
arpeggiate the notes C - E - G - B, and 13ths to add flavor to your
use this pattern to create smooth lines progressions. Try replacing basic triads
while improvising. with these extended chords.
3. Improvise Daily: Try improvising over
6. Modal Improvisation a basic progression (e.g., Cmaj7 -
Fmaj7 - G7 - Cmaj7) and focus on
In modal improvisation, you can use scales
incorporating the blues scale,
based on the modes of the major scale (e.g.,
pentatonic scale, and
Dorian, Mixolydian, etc.) to create different
call-and-response techniques.
emotional colors.
4. Record Yourself: Recording your
● C Dorian mode (starting on D): D - E - improvisations can help you hear the
F - G - A - Bb - C areas where you need improvement
● C Mixolydian mode (starting on G): G and refine your playing.
-A-B-C-D-E-F 5. Focus on Feeling: Gospel is all about
expression, so don’t be afraid to
Each mode provides a different flavor to your experiment and let the music flow
improvisation and can be used over through you.
corresponding chords. For example, C Dorian
works great over a Dm7 chord, while C
Mixolydian works well over G7.
By combining reharmonization techniques
and improvisation skills, you’ll be able to
elevate your gospel piano playing and bring
7. "Passing Chords" and "Passing Tones" your own unique sound to the music.

A passing chord is a temporary chord that

creates a smooth transition between two
chords in a progression. Tritone and Its Role in Gospel Music

● Example: If moving from Cmaj7 to D7, What is a Tritone?

you can insert a C#dim7 as a passing
chord. ● A tritone is an interval that spans three
whole steps (or six half-steps). It is
A passing tone is a note that "passes" often referred to as an “augmented
between two harmonies. In gospel fourth” or “diminished fifth,” and it is one
improvisation, passing tones often fill the of the most dissonant intervals in
space between the root notes or chord tones. music. Its dissonance creates tension,
which is often resolved when it moves
Final Practice Tips for to a more consonant interval.
Reharmonization and Improvisation ● Example of a Tritone:
○ From C to F# (or Gb) is a
1. Start Simple: Begin by reharmonizing tritone.
simple progressions, using basic
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 ■ C - D - E - F - F# (C to ● What is Tritone Substitution?
F# is a tritone). ○ Tritone substitution involves
replacing a dominant seventh
Tritone in Chords chord with another dominant
seventh chord a tritone away
In gospel, tritones play an important role in from the original chord. This
chord construction, particularly in dominant creates a smooth yet surprising
seventh chords and chord substitutions. A harmonic shift, which adds
tritone between two notes can create tension, complexity to gospel
which typically resolves to a more stable chord. progressions.
○ For example, in a II-V-I
progression (e.g., D7 - G7 - C),
you could substitute D7 (II
Tritone in Dominant Seventh Chords chord) with Ab7 (a tritone
away), resulting in Ab7 - G7 - C.
● Dominant Seventh Chords and
Tritones:
○ A dominant seventh chord
consists of a root, major third,
Tritone Substitution Example in
perfect fifth, and a minor
seventh. The third and seventh Gospel Progressions
of the dominant seventh chord
1. Original Progression:
form a tritone interval, which
○ G7 → Cmaj7
creates tension and a desire for
2. G7 (G - B - D - F) → Cmaj7 (C - E - G -
resolution.
B)
○ Example:
○ The F in G7 resolves smoothly
■ G7 (G - B - D - F)
to E in Cmaj7.
■ The third (B) and
3. Tritone Substitution:
the seventh (F)
○ G7 → Db7 → Cmaj7
create a tritone
4. G7 is substituted with Db7 (a tritone
interval.
away from G7). The Db7 (Db - F - Ab -
■ This tritone
Cb) can resolve to Cmaj7, as Ab in
creates a strong
Db7 moves smoothly to G in Cmaj7.
pull toward C (the
○ Example of the Progression:
tonic or I chord),
■ G7 → Db7 → Cmaj7
where the
○ This substitution gives the
tension resolves.
progression a more
● How It Works in Progressions:
sophisticated, jazzy feel while
○ G7 (dominant seventh) wants to
maintaining the same harmonic
resolve to C (tonic chord). The
function.
tritone between B (major third)
and F (minor seventh) in G7
resolves naturally to C (C - E -
G), which is consonant.

Tritone Substitution
Using Tritones in Reharmonization
15
Reharmonization is a technique where you ○ Cmaj7 (C - E - G - B) → B7 (B -
take a standard chord progression and add D# - F# - A)
new chords or substitutions to make it more ○ The B in Cmaj7 resolves
interesting. Tritones are a powerful tool in smoothly to the B in B7, and the
reharmonization because they can lead to tritone between E and D#
surprising but pleasing chord shifts. creates tension that resolves in
the context of B7.
Example: Reharmonizing "Amazing Grace" ● Tritone Voice Leading:
○ This technique works by
Let’s take a common I - IV - V progression in C ensuring that the inner voices
major: (the notes between the root and
the fifth) move smoothly to the
● Original:
next chord. The tritone interval
○ C→F→G→C
between the third and seventh
● Now, let’s use tritone substitutions
of the dominant seventh chord
and reharmonize this progression:
is the focal point for creating
● Reharmonized:
tension and smooth voice
○ Cmaj7 → F#7 → G7 → Cmaj7
leading.
● Here, F#7 is a tritone substitution for F,
and it still leads to G7 before resolving
back to Cmaj7.

Advanced Tritone Substitution: Tritone in Advanced Gospel Patterns

Let’s take a ii-V-I progression in C major: Tritone-Based Chord Voicings

● Original: You can also use tritone-based voicings for

○ Dm7 → G7 → Cmaj7 smooth, rich sound. Here's how:
○ Dm7 (D - F - A - C) → G7 (G - B
● Cmaj7 (C - E - G - B)
- D - F) → Cmaj7 (C - E - G - B)
○ Right Hand: Use E and B
● Tritone Substitution:
(major third and major seventh).
○ Ab7 → G7 → Cmaj7
○ Left Hand: Use C and G (root
○ Ab7 (Ab - C - Eb - Gb) replaces
and fifth).
Dm7, and the tritone
● Tritone Substitution Example:
relationship between Ab7 and
○ Ab7 (Ab - C - Eb - Gb)
G7 gives the progression a
○ Left Hand: Play Ab and Eb.
more chromatic, jazzy feel.
○ Right Hand: Play C and Gb
(which is the tritone interval).

Tritone for Smooth Voice Leading

Tritones can help create a smoother voice

leading between chords. Here’s how:

● Example: Final Thoughts on Tritones

16
 ● Tritones are a powerful tool in both Original Progression:
creating tension and smooth voice
leading. ● C→F→G→C
● They’re especially useful in dominant
seventh chords and substitutions, Reharmonized with Tritone Substitutions:
and can be used to create
● Cmaj7 → F#7 (tritone substitution for
sophisticated harmonic movements.
F) → G7 → Cmaj7
● When reharmonizing or using tritone
substitution, you introduce surprising Explanation:
changes that keep the music fresh and
engaging. ● The F#7 is a tritone substitution for F. It
leads smoothly to the G7, and finally
resolves to the Cmaj7 chord. This
creates a more complex and jazzy
progression without losing the original
structure.
Exercises with Tritones

1. Tritone Practice:
○ Play the G7 chord (G - B - D -
2. "Oh Happy Day" (Edwin Hawkins
F), then play the Db7 chord (Db
- F - Ab - Cb). Singers)
○ Practice resolving these chords
In the iconic song "Oh Happy Day," gospel
to Cmaj7.
musicians often apply tritone substitutions and
2. Tritone Substitution:
dominant seventh chords to add richness.
○ Take a simple progression like I
Here’s an example of a simple progression and
- IV - V (C - F - G - C), and
how it can be reharmonized using tritones.
experiment by substituting the F
with F#7 (a tritone away), Original Progression (Verse):
creating a smoother chromatic
feel. ● C → F → G7 → C

These examples highlight how tritones are Reharmonized with Tritone Substitutions:
used in chord progressions, substitutions, and
reharmonization to create tension and resolve ● Cmaj7 → F#7 (tritone substitution for
smoothly. F) → Bb7 (tritone substitution for G7)
→ Cmaj7
1. "Amazing Grace" (Traditional Gospel
Explanation:
Song)
● F → F#7 (F to F# is a tritone
In "Amazing Grace," we can apply tritone
substitution).
substitutions to enrich the chord
● G7 → Bb7 (G7 to Bb7 is a tritone
progressions. Here's an example of how to
substitution). This smooths out the
reharmonize the familiar I - IV - V progression
movement between chords and adds a
in C major:
bit of surprise.

17
 ● The final Cmaj7 resolves the tension. Reharmonized with Tritone Substitutions:

● Amaj7 → D#7 (tritone substitution for

D) → E7 → Amaj7
3. "Total Praise" (Richard Smallwood)
Explanation:
"Total Praise" has an elegant harmony that
includes dominant seventh chords, tritone ● D → D#7 is a tritone substitution that
substitutions, and extended chords. Below is adds a chromatic flavor and leads
an example of how tritones function in the key smoothly to the E7, creating tension
of Eb major, focusing on the I - IV - V that resolves back to Amaj7.
progression. ● The use of D#7 (a dominant seventh)
makes the progression more interesting
and adds more color to the movement.

Original Progression:

● Eb → Ab → Bb7 → Eb 5. "I Smile" (Kirk Franklin)

Reharmonized with Tritone Substitutions: "I Smile" by Kirk Franklin features gospel
progressions with extended chords and some
● Ebmaj7 → A7 (tritone substitution for nice twists on traditional progressions. In this
Ab) → Bb7 → Ebmaj7 example, we can apply a ii-V-I progression
with tritone substitution.
Explanation:

Original Progression (in C major):

● Ab → A7 is a tritone substitution, which
creates a chromatic movement toward
● Dm7 → G7 → Cmaj7
Bb7.
● Bb7 moves naturally back to Ebmaj7 Reharmonized with Tritone Substitution:
(the tonic chord), completing the
harmonic cycle with a smooth ● Ab7 (tritone substitution for Dm7) →
resolution. G7 → Cmaj7

Explanation:

4. "Take Me to the King" (Tamela Mann) ● Dm7 → Ab7 (a tritone substitution).

The Ab7 leads to G7, and then to
"Take Me to the King" features rich harmonic Cmaj7, creating a smooth yet
movement with major and minor chords. Here's unexpected shift.
an example of how to apply tritone ● This reharmonization makes the
substitutions in the context of this modern progression more jazzy and
gospel song. sophisticated, common in modern
gospel music.

Original Progression (in A major):

6. "Blessed Assurance" (Traditional
● A → D → E7 → A
Hymn with Gospel Influence)
18
"Blessed Assurance" is a beautiful hymn that’s leads to D7, which then resolves
often played with gospel embellishments. The smoothly back to Gmaj7.
progression often uses dominant seventh ● This reharmonization adds a jazzy flair
chords, and we can apply tritone substitutions while preserving the energy and
to give it a more contemporary feel. movement of the original song.

Original Progression (in F major):

● F → Bb → C7 → F
Key Points on Using Tritones in
Reharmonized with Tritone Substitutions: Gospel Music:

● Fmaj7 → B7 (tritone substitution for 1. Tritone Substitution: Moving from one

Bb) → C7 → Fmaj7 dominant seventh chord to another a
tritone away, often provides harmonic
Explanation: movement that sounds fresh and
unexpected.
● Bb → B7 is a tritone substitution that
2. Voice Leading: Tritones create smooth
adds harmonic tension. The B7 chord
voice leading by resolving dissonance.
creates a smooth chromatic movement
For example, the B in G7 moves
toward C7 before resolving back to
smoothly to C in Cmaj7, and F in G7
Fmaj7.
moves smoothly to E in Cmaj7.
● This gives the song a more modern feel
3. Chromatic Movement: By using tritone
while retaining the original melody and
substitutions, you can create chromatic
harmony.
progressions that make gospel songs
sound more modern or sophisticated.
4. Tension and Resolution: Tritones
create tension in the music, which is
7. "Let’s Go Higher" (Hezekiah
why they are often used in dominant
Walker) seventh chords. This tension seeks
resolution in more consonant chords,
In "Let’s Go Higher," tritone substitutions and
like major or minor seventh chords.
dominant seventh chords are used frequently
for harmonic tension and release.

Original Progression (in G major):

Practice Tip:
● G → C → D7 → G
To internalize tritone substitutions, try
reharmonizing some of your favorite gospel
songs by replacing dominant seventh chords
Reharmonized with Tritone Substitutions: with their tritone substitutes. Play around
with the ii-V-I progressions and I-IV-V
● Gmaj7 → C#7 (tritone substitution for
progressions, and experiment with major and
C) → D7 → Gmaj7
minor seventh chords.
Explanation:

● C → C#7 (a tritone substitution for C).

The C#7 creates a chromatic shift that
19